AS ONE Surpasses Turandot and The Barber of Seville to Become 14th Most Produced Opera in the U.S. and Canada in 2016-17

January 30, 2018

A few of the many Hannahs from As One, clockwise from top left: AOP World Premiere (Brooklyn, NY), UrbanArias (Arlington, VA), West Edge Opera (San Francisco, CA), Pittsburgh Opera, International Opera Projects (Berlin, Germany), Seattle Opera.

Laura Kaminsky, Mark Campbell, and Kimberly Reed’s chamber opera As One was the 14th most-performed opera in the United States and Canada in the 2016-2017 season according to the Winter 2018 issue of OPERA America magazine and the only opera in the top 25 written this century.

The Top 25 in 2016-17 were:
1. Carmen
2. Madama Butterfly
3. Die Zauberflöte
4. Le Nozze di Figaro
5. Don Giovanni
6. La Traviata
7. Tosca
8. Eugen Onegin
9. Rigoletto
10. Roméo et Juliette
11. Aida
12. La Boheme
13. Lucia di Lammermoor
14. As One
15. My Fair Lady
16. Die Entführung aus dem Serail
17. Turandot
18. Don Pasquale
19. Falstaff
20. Hansel und Gretel
21. Norma
22. Sweeney Todd
23: Dead Man Walking
24: Oklahoma!
25: Il Barbiere di Siviglia

In As One, a mezzo-soprano and a baritone depict the experiences of its sole transgender protagonist, Hannah, as she endeavors to resolve the discord between herself and the outside world.

As One was commissioned, developed, and premiered by American Opera Projects at BAM Fisher Center in Brooklyn, NY in September, 2014, and has already been performed by over 15 different opera companies throughout the United States and beyond.

New productions of As One were performed this month at Lyric Opera Kansas City, Hawaii Opera Theatre, and Boston Opera Collaborative. It will next be seen at Anchorage Opera Feb. 9-11, 2018.

More info:
https://www.asoneopera.com/
http://www.aopopera.org/AsOne/

Advertisements

“Startling,” “gripping” THE ECHO DRIFT finishes “virtuoso” run at Prototype Festival

January 26, 2018

On January 20, the world premiere of THE ECHO DRIFT, with music by Mikael Karlsson, libretto by Elle Kunnos de Voss & Kathryn Walat, directed by Mallory Catlett and conducted by Nicholas DeMaison completed its six-performance run at Baruch Performing Arts Center in New York City as part of the 2018 Prototype Festival. Mezzo-soprano Blythe Gaissert starred as a convicted murderer trapped in a timeless prison and is unexpectedly befriended by a moth (actor John Kelly) with an offer of a perceived way to freedom. The experimental chamber opera, performed by members of ICE Ensemble and enhanced by electronic soundscape and animation, was enthusiastically received by both audiences and critics alike.

Blythe Gaissert as Walker Loats in The Echo Drift

“a startling science fiction conceit kickstarted the gripping one-act The Echo Drift. In this world premiere work, an inmate in a futuristic prison gets a visit from a talking moth that tries to persuade her than she can escape by rejecting her conventional sense of time and space. Everything about this presentation was virtuoso, from the psychedelic snarls and slithers in composer Mikael Karlsson’s orchestra writing to the sly, ironic whispers of actor John Kelly as the Moth. But the heart of the piece was the bravura singing of Blythe Gaissert as the panicky prisoner, her smoky mezzo biting into the wide-ranging and relentless vocal part with the violent abandon of a starving shark.” – The Observer

Stark and intricate, propulsive and a little film-noir, “The Echo Drift” is most exciting when it is fast and cacophonous, nearly overwhelming the senses.” – The New York Times

a totally original and stunning, immersive piece… with a scintillating score composed by Mikael Karlsson, and a brilliant environmental production by Elle Kunnos de Voss in their first collaboration. … Gaissert is wonderful as Loats, giving herself over totally to the fantasy world that the creators have presented to her, more than holding her own vocally in the powerful and audacious orchestral setting–by turns jazzy, acoustic, electronic, melodic, atonal, soothing, blasting–that the composer has devised.” – Broadway World

“seventy immersive minutes of six-channel surround sound and projected animations … The score was modest, absorbing, and lush …  For a story about a convicted murderer in solitary confinement, The Echo Drift is surprisingly accessible and apolitical. … Gaissert and Kelly fully embraced the sophisticated score and meta set, and The Echo Drift balanced an immersive multidimensional experience with a refreshing affirmation of human solidarity.” – I Care If You Listen

“Nicholas DeMaison conducted with unwavering clarity, helped by seven superb musicians from the International Contemporary Ensemble. Levy Lorenzo’s electronics wizardry—effectively an eighth instrument—creates unusually vivid textures, such as the complex, machine-like chords repeated near the end, tolling like otherworldly bells. … It is hard to sufficiently praise soprano Blythe Gaissert as Loats, singing tirelessly over the course of the opera’s 70 minutes.” – Musical America

“The Echo Drift struck an admirable balance between evocative score and creative composition, and is easily worthy of a pure listen without the staging. Karlsson’s subtle but crucial electronic elements were particularly noteworthy, threading through the live performers with magnetic textures… singers and musicians alike made this small chamber opera a grand production.” – Seen and Heard International

In a tension-filled final day, Gaissert took ill and made the difficult decision not to perform. Her cover Kathryn Krasovec stepped in with only a few hours of rehearsal under her belt and gave a powerful performance that captivated the audience on the opera’s final night.

The Echo Drift was commissioned, developed and produced by Beth Morrison Projects, HERE, and American Opera Projects. The Echo Drift was originally developed by Mikael Karlsson and Elle Kunnos de Voss in a full-length workshop presented by the Embassy of Sweden in Washington DC in 2014. Additional development was provided through the Opera Genesis Fellowship, a residency at the Hermitage Artist Retreat, made in partnership with American Opera Projects.


Announcing the winners of the 2017-19 Composers & the Voice fellowships!

July 20, 2017

AOP (American Opera Projects) and Composers & the Voice Artistic Director Steven Osgood have selected six composers and three librettists to receive fellowships for its upcoming ninth season of Composers & the Voice. The 2017-2019 season will train, and present new works from, composers Matthew Browne, Scott Ordway, Frances Pollock, Pamela Stein LyndeAmber Vistein, and Alex Weiser and librettists Laura Barati, Kim Davies, and Sokunthary Svay. The primary focus of Composers & the Voice is to give emerging composers and librettists experience working collaboratively with singers on writing for the voice and contemporary opera stage.

 

“The philosophy of Composers & the Voice since its beginning has been that by immersing composers and librettists in hands-on work with skilled singers and music directors, we empower them to create groundbreaking works that are true to each of their artistic languages,” says Osgood.  “Composers rarely have the opportunity to work with opera singers during their training, and C&V was designed to address this void. I could not be prouder of the commissions and premieres that have flowed to the alumni of C&V.”

The fellows were chosen from an extensive pool of applicants by a panel made up of C&V and AOP staff and professional artists that included Osgood, AOP General Director Charles Jarden, AOP Producing Director/C&V Head of Drama Matt Gray, C&V Head of Music Mila Henry, librettist Sara Cooper, singer Amy van Roekel, and composers Conrad Cummings, Jeremy Gill, Jennifer Griffith, Laura Kaminsky, Kristin Kuster, and Gregory Spears.

The Composers & the Voice fellowships include a year of working with the company’s Resident Ensemble of Singers and Artistic Team, over 45 hours of “Skill-Building Sessions” of acting courses with director Mary Birnbaum (Die Zauberflöte at Juilliard), theatrical improvisation led by Terry Greiss (Co-Founder, Ensemble Actor, Executive Director of Irondale Ensemble Project), and libretto development with Libretto Writing Instructor Mark Campbell (Silent Night, The (R)evolution of Steve Jobs, As One), and two public concerts of new works. This is followed by a year of continued promotion and development through AOP and its strategic partnerships.

Composers Ricky Ian Gordon (27, The Grapes of Wrath), David T. Little (Dog Days, JFK), Missy Mazzoli (Breaking the Waves, Songs From the Uproar), Tobias Picker (An American Tragedy, Emmeline), Stephen Schwartz (Wicked, Godspell), and Gregory Spears (Fellow Travelers, Paul’s Case), and librettists Gene Scheer (Cold Mountain, Moby Dick) and Royce Vavrek (Dog Days, JFK) will serve as the upcoming season’s “Artistic Chairs,” each of whom are assigned a fellow, providing one-on-one artistic advice and career guidance.

Support for AOP’s Composers & the Voice program is provided in part by a grant from The Andrew W. Mellon Foundation.

Bios of C&V fellows, singers, instructors, and music directors available at www.aopopera.org/composers_voice/2017-19.html

Read the rest of this entry »


AOP to present the complete video of the 2014 world premiere of As One for one week

June 21, 2017
FOR IMMEDIATE RELEASE
June 21, 2017

TO CELEBRATE LGBTQ PRIDE, AMERICAN OPERA PROJECTS PRESENTS THE COMPLETE VIDEO OF THE 2014 WORLD PREMIERE OF AS ONE – “A TRANSGENDER STORY WITH POWER, PASSION”

The popular chamber opera by Laura Kaminsky, Mark Campbell, and Kimberly Reed will be screened to the public June 23-30 on the AOP website.

Premiere production at BAM features mezzo-soprano Sasha Cooke and baritone Kelly Markgraf sharing the role of the transgender protagonist.

 

BROOKLYN, NYIn celebration of LGBTQ Pride Month, American Opera Projects (AOP) will make available to the public the video of their 2014 World Premiere production of the opera As One from June 23-30, 2017 on the AOP website at www.aopopera.org/AsOne/worldpremiere.  As One, with music and concept by Laura Kaminsky, an original libretto by Mark Campbell and Kimberly Reed, and film by Ms. Reed chronicles the experiences of a transgender person with empathy and wit as she emerges into harmony with the world around her.

As One has become one of the most produced contemporary American operas written in the past 50 years with eight new productions around the country (and one in Berlin, Germany) in the three years since its premiere and at least eight more scheduled for the 2017-18 season, including San Diego Opera, Des Moines Metro Opera and Hawaii Opera Theatre.

AOP developed and commissioned the one-act chamber opera specifically for internationally-acclaimed singers (and real-life husband and wife) Kelly Markgraf, baritone, and Sasha Cooke, mezzo-soprano, who shared the role of the protagonist Hannah in the world premiere production at BAM (Brooklyn Academy of Music), directed by Ken Cazan, conducted by Steven Osgood, and featuring the Utah-based Fry Street Quartet. The production design by David Jacques includes film by Kimberly Reed, director of the award-winning documentary, Prodigal Sons. Costume design was by Sara Jean Tosetti.

Reviewing the world premiere, The New York Times said, “As One forces you to think, simultaneously challenging preconceptions and inspiring empathy.” Subsequent productions earned the opera additional critical praise: “The real secret of the opera’s success… is that under everything lays a winning coming-of-age story. … By moving beyond the daily news, As One approaches admirable universality.” (The Los Angeles Times); “a transgender story with power, passion … beautiful lyrical moments… as uplifting as any operatic ending could be.” (Seattle Times); “A thoughtful and substantial piece as well as that rarest of operatic commodities — a story that lends itself to dramatization in music.” (The Washington Post); “As One is the hottest title in opera right now … An accomplished bit of art-making, with considerable entertainment value, that thrusts itself smack into the current political and social discourse.” (The Denver Post)

In addition to As One, Brooklyn-based opera producer American Opera Projects has developed and produced numerous LGBTQ-themed works including the 1998 Lincoln Center Festival world premiere of Patience & Sarah by Paula Kimper and Wende Person, one of the first operas about a gay relationship.

“While AOP’s roster of LGBTQ operas is growing, clearly in our era there is still significant progress to be made,” says AOP Producing Director Matt Gray. “Opera has unfortunately been late to embrace contemporary works, especially ones that address current events and lifestyles. But it is encouraging to see that more and more opera companies recognize the need to present stories that reflect contemporary issues and portray a diversity of characters.” In recent years, audiences have seen successful premieres of LGBTQ-themed operas such as Paul’s Case, Before Night Falls, and A Letter to East 11th Street – all having received development in AOP’s First Chance program – as well as Fellow Travelers, Three Decembers, Brokeback Mountain, Prince of Players, Champion, and Angels in America. Gray continues, “For us to empathize with the struggles of others there can be no art form where their stories are not told. AOP holds as a goal that a proliferation of these stories will allow opera audiences to recognize that the conflicts and lives of every person are relatable. And that the discovery of those inherent, relatable truths of our unified humanity makes enlightening, and exciting, entertainment.”

For more information about transgender issues please visit the GLAAD WEBSITE.

AS ONE photo 3 by Ken Howard for AOP

Baritone Kelly Markgraf (left) and mezzo-soprano Sasha Cooke shared the role of the transgender protagonist Hannah in the 2014 world premiere of As One, an opera by Laura Kaminsky, Kimberly Reed, and Mark Campbell. Photo by Ken Howard.

###

PRESS CONTACT:  Matthew Gray, AOP Producing Director, 718-398-4024, mgray@operaprojects.org

AOP receives OPERA America Innovation Grant to expand training programs

June 6, 2017

AOP is proud to announce that it has been awarded an Innovation Grant to expand its composer-librettist training curriculum to academic music-theater programs, serving as a potential model for other schools and conservatories.

AOP’s training curriculum was pioneered with the creation of Composers & the Voice in 2002. Conceived by C&V’s current Artistic Director Steven Osgood, AOP’s in-house training program will enter its ninth season in Fall 2017. C&V brings together emerging opera composers and librettists and professional opera singers in private workshops to learn the craft of writing for the operatic voice and stage. The curriculum was adapted by C&V composer alum Randall Eng in partnership with AOP in 2015 to create the Advanced Opera Lab for students in the NYU/Tisch Graduate Musical Theater Program. The Innovation grant will continue this trajectory by supporting the codification of a curriculum for schools and conservatories that rarely provide opportunities for learning composition for the voice. In addition, the grant will support the creation of six new site-specific works on the theme of “New York Stories” that will emerge out of the partnerships between AOP and these institutions.

AOP was one of 27 opera companies around the nation to receive Innovation grant awards from the organization. Launched last fall, OPERA America’s Innovation Grants support exceptional projects that have the capacity to strengthen the field’s most important areas of practice, including artistic vitality, audience experience, organizational effectiveness and community connections. These grants invest up to $1.5 million annually in OPERA America’s Professional Company Members, enabling organizations of all sizes to increase their commitment to experimentation and innovation, as well as contribute to field-wide learning.

“Thanks to the tremendous generosity of the Ann and Gordon Getty Foundation, our member companies receive support to pursue new thinking and experimentation — to expand the boundaries of their current practices and adapt to an ever-changing field,” stated Marc A. Scorca, president and CEO of OPERA America in the press release. “These grants benefit not only the recipients but the entire art form: Through the lessons gleaned from the funded initiatives, companies throughout North America will be able to borrow and adapt good ideas, spreading the learning field-wide.”

NYU/AOP Opera Lab Cast, Creators, Designers, and Instructors at the May 14 performances of their opera scenes. International House, NYC. Photo by Steven Pisano.

NYU/AOP Opera Lab “Final Round”. International House, NYC. Photo by Steven Pisano.


New LGBTQ Operas Coming Out in Hard Times

February 23, 2017
as-one-pittsburgh

Taylor Raven, left, and Brian Vu portray Hannah, the transgender heroine of As One at Pittsburgh Opera. Photo by Renee Rosensteel.

In light of recent news from Washington, American Opera Projects (AOP) announces that of its 31 new operas in development, four are on LGBTQ topics. For AOP, this is not new. In 1998, AOP premiered the first opera ever to focus on a lesbian relationship, Patience & Sarah, by composer Paula M. Kimper, and librettist Wende Persons, three years after Houston Grand Opera’s premiere of Harvey Milk composed by Stewart Wallace to a libretto by Michael Korie.

Upcoming LGBTQ operas are:

While AOP’s roster of LGBTQ operas is growing, clearly in our era there is still significant progress to be made. At the same time, these operas are being embraced across the US. As One, the first opera about a transgender person, by artistic team Laura Kaminsky, Mark Campbell, and Kimberly Reed is now one of the most performed new operas in America. Following AOP’s premiere at the Brooklyn Academy of Music, As One has had productions in Seattle, Washington D.C., Berkeley, Logan, UT, Berlin, and just last week, Pittsburgh, where the Pittsburgh Post-Gazette called it “pertinent and moving,” with upcoming shows in San Diego, Denver, New Orleans, Long Beach, Kansas City, and more.

As One forces you to think, simultaneously challenging preconceptions and inspiring empathy.” – The New York Times

Opera has unfortunately been late to embrace contemporary works, especially ones that address current events and lifestyles. But it is encouraging to see that more and more opera companies recognize the need to be an art form that reflects the stories of our time. In recent years, audiences have seen successful premieres of LGBTQ-themed operas such as Paul’s Case, Before Night Falls, and A Letter to East 11th Street – all having received development in AOP’s First Chance program – as well as Fellow Travelers, Three Decembers, Brokeback Mountain, Prince of Players, Champion, and Angels in America.

At a time when the Trump Administration has removed the Obama-era guidance allowing trans people to select school restrooms according to gender choice, AOP will continue to actively pursue works like these for development and production.

AOP’s most recent world premiere Three Way “explores sex without moralizing” (The East Nashvillian) depicting modern sexuality in three short, comic one acts. The co-production with Nashville Opera, where it had its well-received premiere in January, will come to the Brooklyn Academy of Music in June 2017.

I’m here for an opera that explains to straight people what being trans- or cis-gender is. Hopefully, we as the audience come to a deeper understanding with them. – Schmopera.com‘s review of Three Way’s world premiere in Nashville.

For us to empathize with the struggles of others there can be no art form where their stories are not told. Giving every minority – of race, gender, country, political view, you name it – an opportunity to tell their story may seem impossible, but it is still the ideal. More immediately, we hold as a goal that a proliferation of these stories will allow opera audiences to recognize that the conflicts and lives of every person are relatable. And that the discovery of those inherent, relatable truths of our unified humanity makes enlightening, and exciting, entertainment.

Bloggers: Matt Gray & Annie Troy

masquerade1168

Gender-fluid couple Kyle (Jordan Rutter) and Tyler (Melisa Bonetti), left, get eyed by another couple in Three Way. Photo by Anthony Popolo.


BROOKLYN OPERA COMPANY AMERICAN OPERA PROJECTS NAMES ANNE TROY AS DIRECTOR OF DEVELOPMENT

January 26, 2017
AOP Director of Development Anne Troy

Anne Troy, AOP Director of Development

NEW YORK, NY, January 10, 2017— Brooklyn-based nonprofit arts organization American Opera Projects (AOP) is pleased to announce the appointment of Anne Troy as its new Director of Development. Troy will create, implement, and oversee all fundraising and development activities of the organization that has developed and presented new works of opera across the country for over 25 years.

At this critical juncture in AOP’s history, in which the organization’s operating budget has more than doubled in the past two years with the premieres of critically-lauded and commercially successful new operas such as As One and Hagoromo (BAM Next Wave Festival), the Director of Development will continue to stimulate that growth by deepening the fundraising capacity of AOP at all levels, from individual contributions and board development, to foundation and government support. The creation of the Director of Development position is funded in part by The Andrew W. Mellon Foundation.

Troy served as Development Director of the New York City Mayor’s Fund, the Marilyn Horne Foundation, and Association for Neighborhood and Housing Development as well as on fundraising projects for the Martina Arroyo Foundation, Martha Graham Dance Company, and the YMCA of Greater New York. Before moving into development, Troy was a creative supervisor at Young & Rubicam Direct Marketing. Her career shifted from advertising to social issues when she left to help launch Habitat for Humanity in New York City and work for services and housing for homeless and HIV-positive New Yorkers, including starting the first school in a homeless shelter in the US.

“I am proud to announce that Anne Troy has accepted the position of Development Director,” writes General Director Charles Jarden. “Anne is a great match for this brand new position at AOP. As a former development staff member of The Marilyn Horne Foundation plus being knowledgeable about the opera field in general, she knows the scene from a personal vantage point. She has also had a distinguished career in social justice focusing on affordable housing and economic development advocacy. This AOP position will give Anne an opportunity to bring together her interests and passions—and we will benefit from her broad experience and expertise.”

Founded in 1988, American Opera Projects is at the forefront of the contemporary opera movement, commissioning, developing, presenting, and producing opera and music theatre projects, collaborating with young, rising, and established artists, and engaging audiences in unique and transformative theatrical experiences. AOP has produced over 30 world premieres, including the Nathan Davis/Brendan Pelsue dance chamber opera Hagoromo starring Wendy Whelan (BAM, 2015), Kaminsky/Reed/Campbell’s As One (BAM, 2014), Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (Irondale Center, 2014), and Lera Auerbach’s The Blind (co-production with Lincoln Center Festival, 2013) and the upcoming 2017 co-production with Nashville Opera of Robert Paterson’s Three Way (Nashville Opera, BAM Fisher). AOP-developed operas that premiered with co-producers include Stefan Weisman’s The Scarlet Ibis at PROTOTYPE Festival (2015), Gregory Spears’ Paul’s Case at Urban Arias (2013) and PROTOTYPE Festival and Pittsburgh Opera (2014), Jack Perla’s Love/Hate at ODC Theater with San Francisco Opera (2012), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011) and Opera Parallèle (2015), and the upcoming The Summer King by Daniel Sonenberg at Pittsburgh Opera (2017).

AOP is an IRS recognized 501(c)3 non-profit corporation, and is a member of OPERA America, Fort Greene Association, the Downtown Brooklyn Arts Alliance, the New York Opera Alliance, and Alliance of Resident Theatres/ New York (A.R.T./NY).


%d bloggers like this: